document_title: Close Encounters of the Third Kind

question_text: close encounters of the third kind oscar nominations

text: Close Encounters of the Third Kind

text: Plot[edit]

text: In the Sonoran Desert, French scientist Claude Lacombe and his American interpreter, cartographer David Laughlin, along with other government scientific researchers, discover Flight 19, a squadron of Grumman TBM Avengers that went missing more than 30 years earlier. The planes are intact and operational, but there is no sign of the pilots. An old man who witnessed the event claimed "the sun came out at night, and sang to him." They also find a lost cargo ship in the Gobi Desert named SS Cotopaxi. At an air traffic control center in Indianapolis, a controller listens as two airline flights narrowly avoid a mid-air collision with an unidentified flying object (UFO), which neither pilot chooses to report, even when invited to do so. In Muncie, Indiana, 3-year-old Barry Guiler is awakened in the night when his toys start operating on their own. Fascinated, he gets out of bed and discovers something or someone (off-screen) in the kitchen. He runs outside, forcing his mother, Jillian, to chase after him.

text: Investigating one of a series of large-scale power outages, Indiana electrical lineman Roy Neary experiences a close encounter with a UFO, when it flies over his truck and lightly burns the side of his face with its bright lights. The UFO, joining a group of three other UFOs, is pursued by Neary and three police cars, but the spacecraft fly off into the night sky. Roy becomes fascinated by UFOs, much to the dismay of his wife, Ronnie. He also becomes increasingly obsessed with subliminal, mental images of a mountain-like shape and begins to make models of it. Jillian also becomes obsessed with sketching a unique-looking mountain. Soon after, she is terrorized in her home by a UFO which descends from the clouds. The presence of the UFO energy field makes every appliance in Jillian's house malfunction and Barry is abducted by unseen beings.

text: Lacombe and Laughlin—along with a group of United Nations experts—continue to investigate increasing UFO activity and strange, related occurrences. Witnesses in Dharamshala, India report that the UFOs make distinctive sounds: a five-tone musical phrase in a major scale. Scientists broadcast the phrase to outer space, but are mystified by the response: a seemingly meaningless series of numbers (104 44 30 40 36 10) repeated over and over until Laughlin, with his background in cartography, recognizes it as a set of geographical coordinates, which point to Devils Tower near Moorcroft, Wyoming. Lacombe and the U.S. military converge on Wyoming. The United States Army evacuates the area, planting false reports in the media that a train wreck has spilled a toxic nerve gas, all the while preparing a secret landing zone for the UFOs and their occupants.

text: Meanwhile, Roy's increasingly erratic behavior causes Ronnie to become upset and leave him, taking their three children with her, never to be seen again. When a despairing Roy inadvertently sees a television news program about the train wreck near Devils Tower, he realizes the mental image of a mountain plaguing him is real. Jillian sees the same broadcast, and she and Roy, as well as others with similar visions and experiences, travel to the site in spite of the public warnings about nerve gas.

text: While most of the civilians who are drawn to the site are apprehended by the Army, Roy and Jillian persist and make it to the site just as dozens of UFOs appear in the night sky. The government specialists at the site begin to communicate with the UFOs by use of light and sound on a large electrical billboard controlled by a multiple-manual synthesizer. Following this, an enormous mother ship lands at the site, releasing animals and over a dozen long-missing adults and children, all from different past eras. Among these returned abductees include the missing pilots from Flight 19 and sailors from the Cotopaxi, all of whom have strangely not aged since their abductions. Barry is also returned and reunited with a relieved Jillian. The government officials decide to include Roy in a group of people whom they have selected to be potential visitors to the mothership, and hastily prepare him.

text: As the aliens finally emerge from the mothership, they select Roy to join them on their travels. As Roy enters the mothership, one of the aliens pauses for a few moments with the humans. Lacombe uses Curwen hand signs that correspond to the five-note alien tonal phrase. The alien replies with the same gestures, smiles, and returns to its ship, which ascends into space, as Barry bids Roy goodbye.

text: Cast[edit]

text:
Richard Dreyfuss as Roy Neary, an electrical lineman in Indiana who encounters and forms an obsession with unidentified flying objects. Steve McQueen was Spielberg's first choice. Although McQueen was impressed with the script, he felt he was not right for the role as he was unable to cry on cue. Dustin Hoffman, Al Pacino and Gene Hackman turned down the part as well.[7] Jack Nicholson turned it down because of scheduling conflicts. Spielberg explained when filming Jaws, "Dreyfuss talked me into casting him. He listened to about 155 days' worth of Close Encounters. He even contributed ideas."[8] Dreyfuss reflected, "I launched myself into a campaign to get the part. I would walk by Steve's office and say stuff like 'Al Pacino has no sense of humor' or 'Jack Nicholson is too crazy'. I eventually convinced him to cast me."[7]
François Truffaut as Claude Lacombe, a French government scientist in charge of UFO-related activities in the United States. Gérard Depardieu, Philippe Noiret, Jean-Louis Trintignant and Lino Ventura were considered for the role. Internationally renowned as a film director, this was Truffaut's only acting role in a film he did not direct as well as his only role in an English language film. During filming, Truffaut used his free time to write the script for The Man Who Loved Women. He also worked on a novel titled The Actor, a project he abandoned.[9]
Melinda Dillon as Jillian Guiler, Barry's mother. She forms a similar obsession to Roy's, and the two become friends. Teri Garr wanted to portray Jillian, but was cast as Ronnie. Hal Ashby, who worked with Dillon on Bound for Glory, suggested her for the part to Spielberg. Dillon was cast three days before filming began.[7]
Teri Garr as Veronica "Ronnie" Neary, Roy's wife. Spielberg's future wife Amy Irving also auditioned for the role.[10]
Cary Guffey as Barry Guiler, Jillian's young child abducted in the middle of the film. Spielberg conducted a series of method acting techniques to help Guffey, who was cast when he was just three years old.[7]
Bob Balaban as David Laughlin, Lacombe's assistant and English-French interpreter. They meet for the first time in the Sonoran Desert at the beginning of the film. His former position as a cartographer allows him to interpret the alien signals as coordinates leading to the meeting at Devils Tower.
Josef Sommer as Larry Butler, a man who meets Roy and Jillian in Wyoming and attempts to scale Devils Tower with them.
Lance Henriksen as Robert, Lacombe's assistant
Roberts Blossom as Farmer, a radical who claims to have seen Bigfoot.

text: J. Allen Hynek makes a cameo appearance in the closing scene. Spielberg's friends Hal Barwood and Matthew Robbins cameo as two World War II pilots returning from the mother ship. Real-life ARP technician Phil Dodds cameos as the operator of the ARP 2500 synthesizer communicating with the alien ship. Musician Jerry Garcia also makes an appearance in the crowd scene. Carl Weathers appeared as a soldier in the film.

text: Production[edit]

text: Development[edit]

text: The film's origins can be traced to director Steven Spielberg's youth, when he and his father watched a meteor shower in New Jersey.[7] As a teenager, Spielberg completed the full-length science fiction film Firelight. Many scenes from Firelight would be incorporated in Close Encounters on a shot-for-shot basis.[11] In 1970 he wrote a short story called Experiences about a lovers' lane in a Midwestern United States farming community and the "light show" a group of teenagers see in the night sky.[12] In late 1973, during post-production on The Sugarland Express, Spielberg developed a deal with Columbia Pictures for a science fiction film. 20th Century Fox previously turned down the offer.[12] Julia and Michael Phillips instantly signed on as producers.[13]

text: He first considered doing a documentary or a low-budget feature film about people who believed in UFOs. Spielberg decided "a film that depended on state of the art technology couldn't be made for $2.5 million."[12] Borrowing a phrase from the ending of The Thing from Another World, he retitled the film Watch the Skies, rewriting the premise concerning Project Blue Book and pitching the concept to Willard Huyck and Gloria Katz. Katz remembered "It had flying saucers from outer space landing on Robertson Boulevard [in West Hollywood, California]. I go, 'Steve, that's the worst idea I ever heard."[12] Spielberg brought Paul Schrader to write the script in December 1973 with principal photography to begin in late 1974. However, Spielberg started work on Jaws in 1974, pushing Watch the Skies back.[12]

text: With the financial and critical success of Jaws, Spielberg earned a vast amount of creative control from Columbia, including the right to make the film any way he wanted.[14] Schrader turned in his script, which Spielberg called, "one of the most embarrassing screenplays ever professionally turned in to a major film studio or director. It was a terribly guilt-ridden story not about UFOs at all."[8] Titled Kingdom Come, the script's protagonist was a 45-year-old Air Force Officer named Paul Van Owen who worked with Project Blue Book. "[His] job for the government is to ridicule and debunk flying saucers." Schrader continued. "One day he has an encounter. He goes to the government, threatening to blow the lid off to the public. Instead, he and the government spend 15 years trying to make contact."[8] Spielberg and Schrader experienced creative differences, hiring John Hill to rewrite.[8] At one point the main character was a police officer.[7] Spielberg "[found] it hard to identify with men in uniform. I wanted to have Mr. Everyday Regular Fella." Spielberg rejected the Schrader/Hill script during post-production on Jaws.[8] He reflected, "they wanted to make it like a James Bond adventure."[15]

text: David Giler performed a rewrite; Hal Barwood and Matthew Robbins,[7] friends of Spielberg, suggested the plot device of a kidnapped child. Spielberg then began to write the script. The song "When You Wish upon a Star" from Pinocchio influenced Spielberg's writing style. "I hung my story on the mood the song created, the way it affected me personally."[8] Jerry Belson and Spielberg wrote the shooting script together. In the end, Spielberg was given solo writing credit.[8] During pre-production, the title was changed from Kingdom Come to Close Encounters of the Third Kind.[14] J. Allen Hynek, who worked with the United States Air Force on Project Blue Book, was hired as a scientific consultant. Hynek felt "even though the film is fiction, it's based for the most part on the known facts of the UFO mystery, and it certainly catches the flavor of the phenomenon. Spielberg was under enormous pressure to make another blockbuster after Jaws, but he decided to make a UFO movie. He put his career on the line."[8] USAF and NASA declined to cooperate on the film.[14] In fact, NASA reportedly sent a 20-page letter to Spielberg, telling him that releasing the film was dangerous.[16] In an interview, he said: "I really found my faith when I heard that the Government was opposed to the film. If NASA took the time to write me a 20-page letter, then I knew there must be something happening." [17]

text: Early in pre-production, Spielberg hired the film title designer Dan Perri to design a logotype for Close Encounters. Perri, who had previously worked on The Exorcist (1973) and Taxi Driver (1976), produced a logotype in Handel Gothic typeface, with only a script to work from. Spielberg was delighted with the result, and applied the logo to all production stationery and crew shirts. Unusually in filmmaking, Spielberg carried enough influence to maintain creative control over the film's entire branding, and asked Perri to design the advertising campaign and title sequence for Close Encounters based on his logo.[18] Perri later went on to design titles for a number of other major Hollywood pictures, including Star Wars (1977), Raging Bull (1980), and Airplane! (1980).[19]

text: Filming[edit]

text: Principal photography began on May 16, 1976, though an Associated Press report in August 1975 had suggested filming would start in late 1975.[20] Spielberg did not want to do any location shooting because of his negative experience on Jaws and wanted to shoot Close Encounters entirely on sound stages, but eventually dropped the idea.[21]

text: Filming took place in Burbank, California; Devils Tower National Monument in Wyoming; two abandoned World War II airship hangars at the former Brookley Air Force Base in Mobile, Alabama; and the Louisville and Nashville Railroad depot in Bay Minette. The home where Barry was abducted is located outside the town of Fairhope, Alabama. Roy Neary's home is at Carlisle Drive East in Mobile. The UFOs fly through the former toll booth at the Vincent Thomas Bridge, San Pedro, California. The Gobi Desert sequence was photographed at the Dumont Dunes, California, and the Dharmsala-India exteriors were filmed at the small village of Hal near Khalapur, 35 miles (56 km) outside Bombay, India.[21] The hangars in Alabama were six times larger than the biggest sound stage in the world.[14][22] Various technical and budgetary problems occurred during filming. Spielberg called Close Encounters "twice as bad and twice as expensive [as Jaws]".[8]

text: Matters worsened when Columbia Pictures experienced financial difficulties. Spielberg estimated the film would cost $2.7 million to make in his original 1973 pitch to Columbia, but the final budget came to $19.4 million.[14] Columbia studio executive John Veich remembered, "If we knew it was going to cost that much, we wouldn't have greenlighted it because we didn't have the money."[14] Spielberg hired Joe Alves, his collaborator on Jaws, as production designer.[9] In addition the 1976 Atlantic hurricane season brought tropical storms to Alabama. A large portion of the sound stage in Alabama was damaged because of a lightning strike.[7] Columbia raised $7 million from three sources: Time Inc., EMI, and German tax shelters.[23]

text: Cinematographer Vilmos Zsigmond said that, during the time of shooting for the film, Spielberg got more ideas by watching movies every night which in turn extended the production schedule because he was continually adding new scenes to be filmed.[8] Zsigmond previously turned down the chance to work on Jaws. In her 1991 book You'll Never Eat Lunch in This Town Again, producer Julia Phillips wrote highly profane remarks about Spielberg, Zsigmond, and Truffaut, because she was fired during post-production due to a cocaine addiction. Phillips blamed it on Spielberg being a perfectionist.[14]

text: Visual effects[edit]

text: Douglas Trumbull was the visual effects supervisor, while Carlo Rambaldi designed the aliens. Trumbull joked that the visual effects budget, at $3.3 million, could have been used to produce an additional film. His work helped lead to advances in motion control photography. The mother ship was designed by Ralph McQuarrie and built by Greg Jein. The look of the ship was inspired by an oil refinery Spielberg saw at night in India.[8] Instead of the metallic hardware look used in Star Wars, the emphasis was on a more luminescent look for the UFOs. One of the UFO models was an oxygen mask with lights attached to it, used because of its irregular shape. As a subtle in-joke, Dennis Muren (who had just finished working on Star Wars) put a small R2-D2 model onto the underside of the mothership.[7] The model of the mothership is now on display in the Smithsonian Institution's Air and Space Museum Udvar-Hazy Annex at Washington Dulles Airport in Chantilly, Virginia.[7]

text: Since Close Encounters was filmed anamorphically, the visual effects sequences were shot on 70 mm film to better conform with the 35 mm film used for the rest of the movie. A test reel using computer-generated imagery was used for the UFOs, but Spielberg found it would be too expensive and ineffective since CGI was in its infancy in the mid-1970s.[7]

text: The small aliens in the final scenes were played by local girls in Mobile, Alabama. That decision was requested by Spielberg because he felt "girls move more gracefully than boys."[7] Puppetry was attempted for the aliens, but the idea failed. However, Rambaldi successfully used puppetry to depict two of the aliens, the first being a marionette (for the tall alien that is the first to be seen emerging from the mothership) and an articulated puppet for the alien that communicates via hand signals with Lacombe near the end of the film.[7]

text: Post-production[edit]

text: Close Encounters is the first collaboration between film editor Michael Kahn and Spielberg. Their working relationship has continued for the rest of Spielberg's films. Spielberg stated that no film he has ever made since has been as hard to edit as the last 25 minutes of Close Encounters and he and Kahn would go through thousands of feet of footage just to find the right shots for the end sequence. When Kahn and Spielberg completed the first cut of the film, Spielberg was dissatisfied, feeling "there wasn't enough wow-ness".[7] Pick-ups were commissioned but cinematographer Vilmos Zsigmond could not participate due to other commitments.[14] John A. Alonzo, László Kovács, and Douglas Slocombe worked on the pick-ups.[14] Lacombe was originally to find Flight 19 hidden in the Amazon Rainforest, but the idea was changed to the Sonoran Desert. Spielberg also took 7.5 minutes out from the preview.[9]

text: Post-production was completed by June 1977,[citation needed] too late for the film to be released as a 'summer blockbuster' which might have been just as well, as Star Wars opened that summer.

text: Music[edit]

text:
Close Encounters of the Third Kind (Original Motion Picture Soundtrack)

Original 1977 soundtrack album

Film score by John Williams

Released
1977 / 1998 (Collector's Edition)

Studio
Warner Bros. Studios

Length
41 mins (Original album and cassette)
44 mins (re-issued cassette)
77 mins (Collector's Edition CD)

Label
Arista

Producer
John Williams

John Williams chronology

Star Wars Episode IV: A New Hope
(1977)Star Wars Episode IV: A New Hope1977
Close Encounters of the Third Kind
(1977)
Jaws 2
(1978)Jaws 21978

Alternative cover

1998 Collector's Edition soundtrack

text:
Professional ratings

Review scores

Source
Rating

AllMusic

Filmtracks

text: The score for the film was composed, conducted and produced by John Williams, who had previously worked on Spielberg's Jaws. Williams wrote over 300 examples of the iconic five-tone motif for Close Encounters—the five tones are used by scientists to communicate with the visiting spaceship as a mathematical language—before Spielberg chose the one incorporated into the film's signature theme. Spielberg called Williams' work "When You Wish upon a Star meets science fiction".[7] Incidentally, Williams briefly included the song's signature melody in the score at Spielberg's behest, just before Roy Neary turns to board the mothership. Spielberg initially included Cliff Edwards' original "When You Wish upon a Star" from Pinocchio in the closing credits, but after a Dallas preview where several members of the audience audibly snickered at the inclusion, the song was dropped and replaced with Williams' orchestral version of it.[24][25] The score was recorded at Warner Bros. Studios in Burbank, California.

text: Williams was nominated for two Academy Awards in 1978, one for his score to Star Wars and one for his score to Close Encounters. He won for Star Wars, though he later won two Grammy Awards in 1979 for his Close Encounters score (one for Best Original Film Score and one for Best Instrumental Composition for "Theme from Close Encounters").[26] Much like his two-note Jaws theme, the "five-tone" motif for Close Encounters has since become ingrained in popular culture.

text: Soundtrack[edit]

text: The soundtrack album was released on vinyl album (with a gatefold sleeve), 8-track tape and audio cassette by Arista Records in 1977, with a total running time of 41 minutes (it was later released on compact disc in 1990). The soundtrack album was a commercial success, peaking at #17 on the US Billboard album chart in February 1978 and was certified Gold by the RIAA for 500,000 copies shipped.[27] It also peaked at #40 in the UK album charts.[28]

text: Although not included on the original soundtrack album, a 7" single of a disco treatment of the five-note motif, titled, "Theme from Close Encounters of the Third Kind", was included with the album as a free bonus item. Despite being a giveaway, Billboard chart rules at that time allowed the single itself to chart, and it peaked at #13 on the US Billboard Hot 100 in March 1978. The single was later added as a bonus track to the cassette.

text: Following the release of the "Collector's Edition" of the film in 1998, a new expanded soundtrack was released on compact disc by Arista. The "Collector's Edition Soundtrack" was made using 20-bit digital remastering from the original tapes, and contained 26 tracks totalling 77 minutes of music. The CD also came with extensive liner notes including an interview with Williams. Cues were given new titles, and it also contained previously unreleased material, as well as material that was recorded but never used in the film.

text: 1977 original album[edit]

text:
[show]Side A

No.
Title
Length

1.
"Main Title and Mountain Visions"

2.
"Nocturnal Pursuit"

3.
"The Abduction of Barry"

4.
"I Can't Believe It's Real"

5.
"Climbing Devil's Tower"

6.
"The Arrival of Sky Harbor"

text:
[show]Side B

No.
Title
Length

1.
"Night Siege"

2.
"The Conversation"

3.
"The Appearance of the Visitors"

4.
"Resolution and End Titles"

5.
"Theme from "Close Encounters of the Third Kind"†"

text: † 1978 reissue - bonus track (cassette), free bonus 7" single (vinyl album).

text: 1998 Collector's Edition[edit]

text:
[show]Track listing

No.
Title
Length

1.
"Opening: Let There Be Light"
0:49

2.
"Navy Planes"
2:06

3.
"Lost Squadron"
2:23

4.
"Roy's First Encounter"
2:41

5.
"Encounter at Crescendo Summit"
1:21

6.
"Chasing UFOs"
1:18

7.
"False Alarm"
1:42

8.
"Barry's Kidnapping"
6:19

9.
"The Cover-Up"
2:25

10.
"Stars and Trucks"
0:44

11.
"Forming The Mountain"
1:49

12.
"TV Reveals"
1:49

13.
"Roy and Gillian on the Road"
1:10

14.
"The Mountain"
3:31

15.
"Who Are You People?"
1:35

16.
"The Escape"
2:18

17.
"The Escape (Alternate Cue)"
2:40

18.
"Trucking"
2:01

19.
"Climbing The Mountain"
2:32

20.
"Outstretch Hands"
2:47

21.
"Lightshow"
3:43

22.
"Barnstorming"
4:25

23.
"The Mothership"
4:33

24.
"Wild Signals"
4:12

25.
"The Returnees"
3:45

26.
"The Visitors / "Bye" / End Titles: The Special Edition (Contains a sample of "When You Wish Upon a Star")"
12:32

text: Themes[edit]

text: Film critic Charlene Engel observed Close Encounters "suggests that humankind has reached the point where it is ready to enter the community of the cosmos. While it is a computer which makes the final musical conversation with the alien guests possible, the characteristics bringing Neary to make his way to Devils Tower have little to do with technical expertise or computer literacy. These are virtues taught in schools that will be evolved in the 21st century."[29] The film also evokes typical science fiction archetypes and motifs. The film portrays new technologies as a natural and expected outcome of human development and indication of health and growth.[29]

text: Other critics found a variety of Judeo-Christian analogies. Devils Tower parallels Mount Sinai, the aliens as God and Roy Neary as Moses. Cecil B. DeMille's The Ten Commandments is seen on television at the Neary household. Some found close relations between Elijah and Roy; Elijah was taken into a "chariot of fire", akin to Roy going in the UFO. Climbing Devils Tower behind the faltering Jillian, Neary exhorts Jillian to keep moving and not to look back, similar to Lot's wife who looked back at Sodom and turned into a pillar of salt.[29] Spielberg explained, "I wanted to make Close Encounters a very accessible story about the everyday individual who has a sighting that overturns his life, and throws it into complete upheaval as he starts to become more and more obsessed with this experience."[22]

text: Roy's wife Ronnie attempts to hide the sunburn caused by Roy's exposure to the UFOs and wants him to forget his encounter with them. She is embarrassed and bewildered by what has happened to him and desperately wants her ordinary life back. The expression of his lost life is seen when he is sculpting a huge model of Devils Tower in his living room, with his family deserting him.[29] Roy's obsession with an idea implanted by an alien intelligence, his construction of the model, and his gradual loss of contact with his wife, mimic the events in the short story "Dulcie and Decorum" (1955) by Damon Knight.

text: Close Encounters also studies the form of "youth spiritual yearning". Barry Guiler, the unfearing child who refers to the UFOs and their paraphernalia as "toys" (although that was unscripted, with the child being drawn to smile by being shown toys offstage), serves as a motif for childlike innocence and openness in the face of the unknown.[29] Spielberg also compared the theme of communication as highlighting that of tolerance. "If we can talk to aliens in Close Encounters of the Third Kind," he said, "why not with the Reds in the Cold War?"[30] Sleeping is the final obstacle to overcome in the ascent of Devils Tower. Roy, Jillian Guiler and a third invitee, Larry Butler, climb the mountain pursued by government helicopters spraying sleeping gas. Larry stops to rest, is gassed, and falls into a deep sleep.[29]

text: In his interview with Spielberg on Inside the Actors Studio, James Lipton suggested Close Encounters had another, more personal theme for Spielberg: "Your father was a computer engineer; your mother was a concert pianist, and when the spaceship lands, they make music together on the computer", suggesting that Roy Neary's boarding the spaceship is Spielberg's wish to be reunited with his parents. In a 2005 interview, Spielberg stated that he made Close Encounters when he did not have children, and if he were making it today, he would never have had Neary leave his family and go on the mother ship.[31]

text: Release[edit]

text: Reception[edit]

text: The film was originally to be released in summer 1977, but was pushed back to November because of the various problems during production.[9] Upon its release, Close Encounters had a huge impact on society and became a certified box office success, grossing $116.39 million in North America and $171.7 million in foreign countries, totaling $288 million.[32] It became Columbia Pictures' most successful film at that time.[22] Jonathan Rosenbaum refers to the film as "the best expression of Spielberg's benign, dreamy-eyed vision."[33] A.D. Murphy of Variety gave a positive review but felt "Close Encounters lacks the warmth and humanity of George Lucas's Star Wars". Murphy found most of the film slow-paced, but praised the film's climax.[34] Pauline Kael called it "a kid's film in the best sense."[11] Jean Renoir compared Spielberg's storytelling to Jules Verne and Georges Méliès.[10] Ray Bradbury declared it the greatest science fiction film ever made.[35] Based on 46 reviews collected by Rotten Tomatoes, 96% ("Certified Fresh") of the reviewers have enjoyed the film and the site's consensus states "Close Encounters most iconic bits (the theme, the mashed-potato sculpture, etc.) have been so thoroughly absorbed into the culture that it's easy to forget that its treatment of aliens as peaceful beings rather than warmongering monsters was somewhat groundbreaking in 1977."[36]

text: Reissues and home video[edit]

text: On the final cut privilege, Spielberg was dissatisfied with the film. Columbia Pictures was experiencing financial problems, and they were depending on this film to save their company. "I wanted to have another six months to finish off this film, and release it in summer 1978. They told me they needed this film out immediately," Spielberg explained. "Anyway, Close Encounters was a huge financial success and I told them I wanted to make my own director's cut. They agreed on the condition that I show the inside of the mothership so they could have something to hang a [reissue marketing] campaign on. I never should have shown the inside of the mother ship."[7] In 1979, Columbia gave Spielberg $1.5 million to produce what became the "Special Edition" of the film. Spielberg added seven minutes of new footage, but also deleted or shortened various existing scenes by a total of ten minutes, so that the Special Edition was three minutes shorter than the original 1977 release.[10] The Special Edition featured several new character development scenes, the discovery of the SS Cotopaxi in the Gobi Desert, and a view of the inside of the mothership. Close Encounters of the Third Kind: The Special Edition was released in August 1980, making a further $15.7 million, accumulating a final $303.7 million box office gross.[10][32] Roger Ebert "thought the original film was an astonishing achievement, capturing the feeling of awe and wonder we have when considering the likelihood of life beyond the Earth. ... This new version ... is, quite simply, a better film ... Why didn't Spielberg make it this good the first time?"[37]

text: The 1980 Special Edition was the version officially available for some time, until The Criterion Collection offered both versions on LaserDisc in 1990.[38] This triple-disc LaserDisc set also included an interactive "Making Close Encounters" documentary featuring interviews with Spielberg and other cast and crew involved with the film, as well as stills and script excerpts. In 1993, the Special Edition was released on VHS and LaserDisc and did not see a further release for 14 years.

text: In 1998, Spielberg recut Close Encounters again for what would become the "Collector's Edition," and it was released on home video and LaserDisc. This version of the film is a re-edit of the original 1977 release with some elements of the 1980 Special Edition, but omits the mothership interior scenes as Spielberg felt they should have remained a mystery. This LaserDisc edition also includes a new 101-minute documentary, The Making of Close Encounters, which was produced in 1997 and features interviews with Spielberg, the main cast and notable crew members. There have also been many other alternate versions of the film for network and syndicated television, as well as a previous LaserDisc version. Some of these combined all released material from the 1977 and 1980 versions. However, none of these versions were edited by Spielberg, who regards the "Collector's Edition" as his definitive version of Close Encounters. The Collector's Edition was given a limited release as part of a roadshow featuring select films to celebrate Columbia Pictures' 75th anniversary in 1999. It was the first time this version of the film had been shown theatrically. The director's cut was once again released in theaters on September 1, 2017 in tribute to the film's 40th anniversary.[39] It made $1.8 million in the weekend ($2.3 million over the four-day Labor Day holiday), pushing its career global gross to over $306 million worldwide.[40]

text: Close Encounters was released on DVD in June 2001 as a two-disc set that contained the "Collector's Edition".[41] This set contained several extra features, including the 1997 "Making of" documentary, a featurette from 1977, trailers and deleted scenes that included the mothership interior from the 1980 Special Edition.

text: Close Encounters was given a second DVD release alongside its first release on Blu-ray Disc in November 2007 for the film's 30th anniversary. These sets contain all three official versions of the film from 1977, 1980 and 1998, and a new interview with Spielberg, detailing the film's impact 30 years after its release. The set also includes the 1977 featurette, various trailers and the 1997 "Making of" documentary. The two-disc Blu-ray set additionally included storyboard-to-scene comparisons, an extensive photo gallery, and a "View from Above: Editor's Fact Track" highlighting the differing scenes in each version of the movie. A single disc version has also been released on Blu-ray, which contains the three versions of the film along with the "View from Above" feature.

text: A third DVD and second Blu-ray release for the film's 40th anniversary had an early September 2017 release. At 145 minutes long, the presentation includes an eight minute introduction followed by the film in its 1998 cut.

text: Accolades[edit]

text: The film was nominated for eight Oscars at the 50th Academy Awards, including Best Director, Supporting Actress (Melinda Dillon), Visual Effects, Art Direction (Joe Alves, Daniel A. Lomino, Phil Abramson), Original Music Score, Film Editing, and Sound (Robert Knudson, Robert Glass, Don MacDougall and Gene Cantamessa).[42] The film's only win was for Vilmos Zsigmond's cinematography, although the Academy honored the film's sound effects editing with a Special Achievement Award (Frank Warner).[43]

text: At the 32nd British Academy Film Awards, Close Encounters won Best Production Design, and was nominated for Best Film, Direction, Screenplay, Actor in a Supporting Role (François Truffaut), Music, Cinematography, Editing, and Sound.[44]

text: Close Encounters lost the Hugo Award for Best Dramatic Presentation to Star Wars,[45] but was successful at the Saturn Awards. There, the film tied with Star Wars for Direction and Music. Spielberg's screenplay, Richard Dreyfuss, Melinda Dillon and the visual effects department received nominations. Close Encounters was nominated for Best Science Fiction Film.[46]

text: The film received four more nominations at the 35th Golden Globe Awards:[47] Best Director (Steven Spielberg); Best Film - Drama; Best Original Score (John Williams); and Best Screenplay (Steven Spielberg).

text: Legacy[edit]

text: Shortly after the film's release in late 1977, Spielberg desired to do either a sequel or prequel, before deciding against it. He explained, "The army's knowledge and ensuing cover-up is so subterranean that it would take a creative screen story, perhaps someone else making the picture and giving it the equal time it deserves."[15]

text: When asked in 1990 to select a single "master image" that summed up his film career, Spielberg chose the shot of Barry opening his living room door to see the blazing orange light from the UFO. "That was beautiful but awful light, just like fire coming through the doorway. [Barry's] very small, and it's a very large door, and there's a lot of promise or danger outside that door."[11] In 2007, Close Encounters was deemed "culturally, historically, or aesthetically significant" by the United States Library of Congress, and was added to the National Film Registry for preservation.[48] In American Film Institute polls, Close Encounters has been voted the 64th-greatest American film,[49] the 31st-most thrilling,[50] and the 58th-most inspiring.[51] It was also nominated for the top 10 science fiction films in AFI's 10 Top 10[52] and the tenth-anniversary edition of the 100 Movies list.[53] The score by John Williams was nominated for AFI's 100 Years of Film Scores.[54]

text: Alongside Star Wars and Superman, Close Encounters led to the reemergence of science fiction films.[55][56] In 1985 Spielberg donated $100,000 to the Planetary Society for Megachannel ExtraTerrestrial Assay.[8] In the 1979 James Bond film Moonraker the five-note sequence is heard when a scientist punches the combination into an electronic door lock. In the South Park episode "Imaginationland", a government scientist uses the five-note sequence to try to open a portal.[57] In "Over Logging", a government scientist uses the five-note sequence to try to get the central Internet router working.[58] The "mashed potato" sculpture was parodied in the film UHF,[59] the film Canadian Bacon, an episode of Spaced, an episode of The X-Files, an episode of That '70s Show, and an episode of The Simpsons.[60] It was satirized in the 200th issue of Mad, July 1978, by Stan Hart and Mort Drucker as Clod Encounters of the Absurd Kind.[61]

text: In 2011, ABC aired a primetime special, Best in Film: The Greatest Movies of Our Time, that counted down the best movies chosen by fans based on results of a poll conducted by ABC and People magazine. Close Encounters of the Third Kind was selected as the #5 Best Sci-Fi Film.[62]

text: American Film Institute Lists

text:
AFI's 100 Years...100 Movies: #64
AFI's 100 Years...100 Thrills: #31
AFI's 100 Years of Film Scores: Nominated
AFI's 100 Years...100 Cheers: #58
AFI's 100 Years...100 Movies (10th Anniversary Edition): Nominated
AFI's 10 Top 10: Nominated Science Fiction Film


document_title: Climate of North Carolina

question_text: when does it snow in north carolina mountains

root

text: Climate of North Carolina

text: Precipitation[edit]

text: There is an average of forty-five inches of rain a year (fifty in the mountains). July storms account for much of this precipitation. As much as 15% of the rainfall during the warm season in the Carolinas can be attributed to tropical cyclones.[3] Mountains usually see some snow in the fall and winter.[1] Moist winds from the southwest drop an average of 80 inches (2,000 mm) of precipitation on the western side of the mountains, while the northeast-facing slopes average less than half that amount.[4]

tag: p

text:
Average Monthly Precipitation

City
Jan
Feb
Mar
Apr
May
Jun
Jul
Aug
Sep
Oct
Nov
Dec
Total

Asheville[5]
2.6 inches (66 mm)
3.1 inches (79 mm)
4 inches (100 mm)
3.3 inches (84 mm)
2.9 inches (74 mm)
3.5 inches (89 mm)
3.4 inches (86 mm)
4 inches (100 mm)
3.1 inches (79 mm)
2.7 inches (69 mm)
2.6 inches (66 mm)
2.7 inches (69 mm)
38.1 inches (970 mm)

Cape Hatteras[6]
5.6 inches (140 mm)
4.1 inches (100 mm)
4.6 inches (120 mm)
3.2 inches (81 mm)
3.8 inches (97 mm)
4.2 inches (110 mm)
4.9 inches (120 mm)
6.4 inches (160 mm)
5.3 inches (130 mm)
5.3 inches (130 mm)
4.9 inches (120 mm)
4.5 inches (110 mm)
56.9 inches (1,450 mm)

Charlotte[7]
3.7 inches (94 mm)
3.7 inches (94 mm)
4.6 inches (120 mm)
3 inches (76 mm)
3.6 inches (91 mm)
3.5 inches (89 mm)
3.8 inches (97 mm)
4.1 inches (100 mm)
3.3 inches (84 mm)
3.2 inches (81 mm)
3.1 inches (79 mm)
3.3 inches (84 mm)
43 inches (1,100 mm)

Greensboro[8]
3.3 inches (84 mm)
3.3 inches (84 mm)
3.8 inches (97 mm)
3.2 inches (81 mm)
3.6 inches (91 mm)
3.8 inches (97 mm)
4.4 inches (110 mm)
4.1 inches (100 mm)
3.3 inches (84 mm)
3.4 inches (86 mm)
2.9 inches (74 mm)
3.2 inches (81 mm)
42.3 inches (1,070 mm)

Raleigh[9]
3.5 inches (89 mm)
3.5 inches (89 mm)
3.7 inches (94 mm)
2.8 inches (71 mm)
3.8 inches (97 mm)
3.6 inches (91 mm)
4.4 inches (110 mm)
4.4 inches (110 mm)
3.1 inches (79 mm)
3 inches (76 mm)
2.9 inches (74 mm)
3.1 inches (79 mm)
41.8 inches (1,060 mm)

Wilmington[10]
3.6 inches (91 mm)
3.5 inches (89 mm)
4.3 inches (110 mm)
2.9 inches (74 mm)
4.3 inches (110 mm)
5.4 inches (140 mm)
7.9 inches (200 mm)
7 inches (180 mm)
5.6 inches (140 mm)
3.3 inches (84 mm)
3.3 inches (84 mm)
3.5 inches (89 mm)
55 inches (1,400 mm)

tag: table

text: Snow[edit]

text: Snow in North Carolina is seen on a regular basis in the mountains. North Carolina averages 5 inches (130 mm) of snow a year. However, this also varies greatly across the state. Along the coast, most areas register less than 2 inches (51 mm) per year while the state capital, Raleigh averages 7.5 inches (190 mm). Farther west in the Piedmont-Triad, the average grows to approximately 9 inches (230 mm). The Charlotte area averages approximately 6.5 inches (170 mm). The mountains in the west act as a barrier, preventing most snowstorms from entering the Piedmont. When snow does make it past the mountains, it is usually light and is seldom on the ground for more than two or three days. However, several storms have dropped 18 inches (460 mm) or more of snow within normally warm areas. The 1993 Storm of the Century that lasted from March 11 to March 15 affected locales from Canada to Central America, and brought a significant amount of snow to North Carolina. Newfound Gap received more than 36 inches (0.91 m) of snow with drifts more than 5 feet (1.5 m), while Mount Mitchell measured over 4 feet (1.2 m) of snow with drifts to 14 feet (4.3 m).[11] Most of the northwestern part of the state received somewhere between 2 feet (0.61 m) an 3 feet (0.91 m) of snow.

text: Another significant snowfall hit the Raleigh area in January 2000 when more than 20 inches (510 mm) of snow fell.[12] There was also a heavy snowfall totaling 18 inches (460 mm) that hit the Wilmington area on December 22-23, 1989. This storm affected only the Southeastern US coast, as far south as Savannah, GA, with little to no snow measured west of I-95. Most big snows that impact areas east of the mountains come from extratropical cyclones which approach from the south across Georgia and South Carolina and move off the coast of North or South Carolina. These storms typically throw Gulf or Atlantic moisture over cold Arctic air at ground level, usually propelled southward from Arctic high pressure over the Northeastern or New England states. If the storms track sufficiently far to the east, snow will be limited to the eastern part of the state (as with the December 22-23, 1989 storm). If the cyclones travel close to the coast, warm air will get pulled into eastern North Carolina due to increasing flow off the milder Atlantic Ocean, bringing a rain/snow line well inland with heavy snow restricted to the Piedmont, foothills and mountains, as with the January 22, 1987 storm. If the storm tracks inland into eastern North Carolina, the rain/snow line ranges between Raleigh and Greensboro.[13]

text:
Average Monthly Snowfall

City
Jan
Feb
Mar
Apr
May
Jun
Jul
Aug
Sep
Oct
Nov
Dec
Total

Asheville[5]
4.6 inches (12 cm)
4.6 inches (12 cm)
3 inches (7.6 cm)
0.7 inches (1.8 cm)
-
-
-
-
-
-
0.7 inches (1.8 cm)
2 inches (5.1 cm)
15.6 inches (40 cm)

Cape Hatteras[6]
0.4 inches (1.0 cm)
0.6 inches (1.5 cm)
0.4 inches (1.0 cm)
-
-
-
-
-
-
-
-
0.6 inches (1.5 cm)
2 inches (5.1 cm)

Charlotte[7]
2 inches (5.1 cm)
1.7 inches (4.3 cm)
1.2 inches (3.0 cm)
-
-
-
-
-
-
-
0.1 inches (0.25 cm)
0.5 inches (1.3 cm)
5.5 inches (14 cm)

Greensboro[8]
3.1 inches (7.9 cm)
2.5 inches (6.4 cm)
1.7 inches (4.3 cm)
-
-
-
-
-
-
-
0.1 inches (0.25 cm)
1.2 inches (3.0 cm)
8.6 inches (22 cm)

Raleigh[9]
2.2 inches (5.6 cm)
2.6 inches (6.6 cm)
1.3 inches (3.3 cm)
-
-
-
-
-
-
-
0.1 inches (0.25 cm)
0.8 inches (2.0 cm)
7 inches (18 cm)

Wilmington[10]
0.4 inches (1.0 cm)
0.5 inches (1.3 cm)
0.4 inches (1.0 cm)
-
-
-
-
-
-
-
-
0.6 inches (1.5 cm)
1.9 inches (4.8 cm)

text: Tropical cyclones[edit]

text: Located along the Atlantic Coast, North Carolina is no stranger to hurricanes. Many hurricanes that come up from the Caribbean Sea make it up the coast of eastern America, passing by North Carolina.

text: On October 15, 1954, Hurricane Hazel struck North Carolina, at that time it was a category 4 hurricane within the Saffir-Simpson Hurricane Scale. Hazel caused significant damage due to its strong winds. A weather station at Oak Island reported maximum sustained winds of 140 miles per hour (230 km/h), while in Raleigh winds of 90 miles per hour (140 km/h) were measured. The hurricane caused 19 deaths and significant destruction. One person at Long Beach claimed that "of the 357 buildings that existed in the town, 352 were totally destroyed and the other five damaged". Hazel was described as "the most destructive storm in the history of North Carolina" in a 1989 report.[14]

text: In 1996, Hurricane Fran made landfall in North Carolina. As a category 3 hurricane, Fran caused a great deal of damage, mainly through winds. Fran's maximum sustained wind speeds were 115 miles per hour (185 km/h), while North Carolina's coast saw surges of 8 feet (2.4 m) to 12 feet (3.7 m) above sea level. The amount of damage caused by Fran ranged from $1.275 to $2 billion in North Carolina.[14]

text: Rain[edit]

text: Heavy rains accompany tropical cyclones and their remnants which move northeast from the Gulf of Mexico coastline, as well as inland from the western subtropical Atlantic ocean. Over the past 30 years, the wettest tropical cyclone to strike the coastal plain was Hurricane Floyd of September 1999, which dropped over 24 inches (610 mm) of rainfall north of Southport. Unlike Hazel and Fran, the main force of destruction was from precipitation. Before Hurricane Floyd reached North Carolina, the state had already received large amounts of rain from Hurricane Dennis less than two weeks before Floyd. This saturated much of the Eastern North Carolina soil and allowed heavy rains from Hurricane Floyd to turn into floods. Over 35 people died from Floyd.[14] In the mountains, Hurricane Frances of September 2004 was nearly as wet, bringing over 23 inches (580 mm) of rainfall to Mount Mitchell.[15]

text: Severe weather[edit]

text: In most years, the greatest weather-related economic loss incurred in North Carolina is due to severe weather spawned by summer thunderstorms. These storms affect limited areas, with their hail and wind accounting for an average annual loss of over US$5 million.[16]

text: North Carolina averages 31 tornadoes a year with May seeing the most tornadoes on average a month with 5. June, July and August all have an average of 3 tornadoes with an increase to 4 average tornadoes a month in September. It is through September and into early November when North Carolina can typically expect to see that smaller, secondary, severe weather season. While severe weather season is technically from March through May, tornadoes have touched down in North Carolina in every month of the year. [1]. On November 28, 1988, an early morning F4 tornado smashed across northwestern Raleigh, continuing 84 miles further, killing 4 and injuring 157 (http://www4.ncsu.edu/~nwsfo/storage/cases/19881128/).

text: Seasonal conditions[edit]

text: Winter[edit]

text: In winter, North Carolina is somewhat protected by the Appalachian Mountains to the west. Cold fronts from Canada are typically reduced in intensity by the mountains. However, occasionally cold air can move from the north or northeast, east of the Appalachian Mountains, from Arctic high pressure systems that settle over the Northeastern or New England states. Other polar and Arctic outbreaks can cross the mountains and force temperatures to drop to about 12 °F (−11 °C) in central North Carolina. Still, temperatures below zero degrees Fahrenheit are extremely rare outside of the mountains. The coldest ever recorded temperature in North Carolina was −34 °F (−37 °C) on January 21, 1985, at Mount Mitchell. The winter temperatures on the coast are milder due to the warming influence of the Atlantic Ocean and the Gulf Stream.[17] The average ocean temperature in Southport in January is still higher than the average ocean temperature in Maine during July.[17] Snow is common in the mountains, although many ski resorts use snowmaking equipment to make sure there is always snow on their land.[17] North Carolina's relative humidity is highest in the winter.[17]

text: Spring[edit]

text: Tornadoes are most likely in the spring. Major tornado outbreaks affected parts of eastern North Carolina on March 28, 1984, and April 16, 2011. The month of May experiences the greatest rise in temperatures. During the spring, there are warm days and cool nights in the Piedmont. Temperatures are somewhat cooler in the mountains and warmer, particularly at night, near the coast.[17] North Carolina's humidity is lowest in the spring.[17]

text: Summer[edit]

text: North Carolina experiences high summer temperatures. Sometimes, cool, dry air from the north will invade North Carolina for brief periods of time, with temperatures quickly rebounding.[18] It remains colder at high elevations, with the average summer temperature in Mount Mitchell lying at 68 °F (20 °C). Morning temperatures are on average 20 °F (12 °C) lower than afternoon temperatures, except along the Atlantic Coast.[17] The largest economic loss from severe weather in North Carolina is due to severe thunderstorms in the summer, although they usually only hit small areas.[17] Tropical cyclones can impact the state during the summer as well. Fogs are also frequent in the summer.

text: Fall[edit]

text: Fall is the most rapidly changing season temperature wise, especially in October and November.[17] Tropical cyclones remain a threat until late in the season. The Appalachian Mountains are frequently visited at this time of year, due to the leaves changing color in the trees.[17]

text: Southern Oscillation[edit]

text: During El Niño events, winter and early spring temperatures are cooler than average with above average precipitation in the central and eastern parts of the state and drier weather in the western part. La Niña usually brings warmer than average temperatures with above average precipitation in the western part of the state while the central and coastal regions stay drier than average.

text: Changes[edit]

text: The water on North Carolina's shores have risen 2 inches (50 mm) but the reason is heavily discussed.[19] Temperatures in North Carolina have risen too. Over the last 100 years, the average temperature in Chapel Hill has gone up 1.2 °F (0.7 °C) and precipitation in some parts of the state has increased by 5 percent.[20]


document_title: Tubercle

question_text: gerdy’s tubercle is a bony feature of which bone

question_tokens: gerdy 's tubercle is a bony feature of which bone

text: Tubercle

text: In plants[edit]

text: A tubercle is generally a wart-like projection, but it has slightly different meaning depending on which family of plants or animals it is used to refer to.

text: In the case of certain orchids and cacti, it denotes a round nodule, small eminence, or warty outgrowth found on the lip. They are also known as podaria (singular  podarium). When referring to some members of the pea family, it is used to refer to the wart-like excrescences that are found on the roots.

text: In mycology, a tubercle is used to refer to a mass of hyphae from which a mushroom is made.

text: In animals[edit]

text: When it is used in relation to certain dorid nudibranchs such as Peltodoris nobilis,  it means the nodules on the dorsum of the animal. These tubercles in nudibranchs can present themselves in different ways: each tubercle in a single rounded, conical or angular form, each tubercle in a compound form of two or more levels, tubercles in amalgamated clusters  or as tubercles forming or joined by a ridge.

text: Tubercles found on the leading edge of humpback whale's flippers were demonstrated to improve fluid flow over the flipper's surface, exhibiting the tubercle effect of fluid dynamics.[1]

text: In dinosaurs, a tubercle is a general term for the scales seen in skin impressions.  In duck-billed dinosaurs, for example, three main types of tubercles are defined: small tubercles with no definite arrangement (ground tubercles); larger, polygonal tubercles (pavement tubercles) up to 1 cm (0.4 in) in diameter, which are grouped into clusters separated by ground tubercles; and limpet-shaped conical scutes.[2]

text: In humans[edit]

text: Within the human body there are numerous sites where tubercles develop.  On bones, they are usually eminences used for muscle connections. Larger tubercles are also known as tuberosities. Within the lungs and on the genitals, tubercles are pathological.

text: Mouth[edit]

text: Tubercles are usually found behind the last molar in the upper jaw, covered by the gum. Surgery can be done to make tubercles less prominent.[3]

text: Bones[edit]

text: The humerus of the upper arm has two tubercles, the greater tubercle and the lesser tubercle. These are situated at the proximal end of the bone, that is the end that connects with the scapula.  The greater/lesser tubercule are located from the top of the acromion laterally and inferiorly.  The radius has two, the radial tuberosity and Lister's tubercle.[citation needed]

text: The most prominent tubercle of the tibia, a leg bone which is more commonly known as the shinbone or shankbone, is the tibial tuberosity.  The tibial tuberosity is located on the tibia's anterior surface, distal to the medial condyle. It creates a bony prominence just below the patella, and can be easily located with the fingers. It creates an attachment point for the ligamentum patellae, or patellar ligament. Other tubercles of the tibia include the medial intercondylar tubercle, the lateral intercondylar tubercle, and Gerdy's tubercle.[citation needed]

text: On a rib, tubercle is an eminence on the back surface, at the junction between the neck and the body of the rib. It consists of an articular and a non-articular area. The lower and more medial articular area is a small oval surface for articulation with the transverse process of the lower of the two vertebrae which gives attachment to the head. The higher, non-articular area is a rough elevation which gives attachment to the ligament of the tubercle. The tubercle is much more prominent in the upper ribs than in the lower ribs.[citation needed]

text: Lungs[edit]

text: Tubercles are nodules that contain caseous necrosis, which form in the lungs as a result of an infection with Mycobacterium tuberculosis in the patients with tuberculosis.  Granulomas form in the infected tissue and undergo necrosis in the centre.  Tubercles are also known as tuberculous nodules. The affected parts develop lesions in the form of small nodules called tubercles, from which the disease gets its name.

text: Ears[edit]

text: Around the sixth week of gestation, six swellings of tissue called the hillocks of Hiss arise around the area that will form the ear canal. These eventually coalesce to form the outer ear. Darwin's tubercle, is a minor malformation of the junction of the fourth and fifth hillocks of Hiss. It is found in a substantial minority of people and takes the form of a cartilaginous node or bump on the rim of their outer ear, which is thought to be the vestige of a joint that allowed the top part of the ancestral ear to swivel or flop down over the opening to the ear.[4]

text: Genitals[edit]

text: The genital tubercle is a small bump that eventually develops into a penis or a clitoris on a human fetus.

text: Brain[edit]

text: The septotubercular tract can be found in the human, as well as in the sheep brain. It is found nearby the septohypothalamic tract. Its function to the brain is ambiguous at this point.[citation needed]

text: Also the tuberculum sellae is found at the base of the skull, which holds the hypophysis.


document_title: Ivan Rakitić

question_text: how many goals has rakitic scored for barcelona

text: Ivan Rakitić

text: Early life[edit]

text: Rakitić was born in Möhlin in the Swiss canton of Aargau to a Croatian family of Šokci origin.[3] His father, Luka, and his family are originally from Sikirevci, while his mother's family are Bosnian Croats from Žepče.[4] He has a brother, Dejan; Rakitić has a tattoo bearing his brother's name on his right arm.[5] Rakitić spent his childhood and early career in Switzerland. His father and older brother were also footballers. With such a background, it was no surprise when Rakitić took a strong interest in the same aspirations, even as he was completing his primary school studies. Subsequent to doing so, he began to concentrate on his sporting career, with his family's encouragement. At age 16, he was noticed by top European scouts who acclaimed his young potential, although he and his family decided to stay in Basel to allow him to play more regularly in a smaller league instead.[5]

text: Club career[edit]

text: Basel[edit]

text: After spending some short time in the youth teams, Rakitić went on to make his first-team debut for Basel on 29 September 2005 during the UEFA Cup away match at Široki Brijeg. He made his first Swiss Super League appearance on 15 April 2006 in Basel's away match against Neuchâtel Xamax. Although these two matches were the only ones he played during his first professional season with Basel, he went on to establish himself as a regular contributor in his second season, scoring 11 goals in 33 Super League appearances. Also making nine UEFA cup appearances during this time, he was named the best young player of the 2006–07 Super League season along with receiving the Swiss Goal of the Year award for an impressive goal he scored against St. Gallen on 22 October 2006.[6]

text: Schalke 04[edit]

text: After an impressive showing as a teenager, Rakitić was again acclaimed by large European clubs who expressed interest in his young ability.[5] Subject to such, he was eventually signed by German side Schalke 04 on 22 June 2007, for €5 million.

text: Rakitić made his debut for Schalke on 21 July 2007 in the Premiere Ligapokal fixture against Karlsruher SC and eventually appeared in the remaining two matches as Schalke finished as league runners-up. On 5 August 2007, Rakitić scored his first competitive goal for his new club in their 0–9 away win over Eintracht Trier in the first round of the DFB-Pokal.[7]

text: On 10 August 2007, the new Bundesliga season was commenced with a clash between champions VfB Stuttgart and Schalke. Rakitić came on as a second-half substitute and scored his first Bundesliga goal within just seven minutes on the field as his side played out a 2–2 draw.[8] On 15 September 2007, he managed to make impressions again by scoring the only goal for Schalke in their 1–1 away draw at Bayern Munich.[9] Three days later, Rakitić made his UEFA Champions League debut in the 0–1 home defeat to Valencia. He then went on to make a total of seven appearances in the 2007–08 Champions League season,[10] including a strong and very impressive midfield role in Schalke's home fixture against Chelsea in the group stage. He and former teammate Mladen Krstajić were temporarily cut from the squad the night before Schalke's next fixture against Rosenborg due to being caught skipping training and taking part in a late-night partying.[11] Helping his side prevail in the penalty shootout against Porto to reach the quarter-finals for the first time,[12] Rakitić had to miss both the fixtures of such against Chelsea due to an ankle injury sustained in training. He was kept out of action for a month[13] as Schalke were eliminated from the tournament without him.

text: Shortly upon his returning from injury, Rakitić discovered top form as he scored a goal and assisted another two in the vital 0–3 victory at VfL Bochum,[14] which made sure Schalke finished at least third in league table and secured a place in the next Champions League. He continued such form in the next fixture against Eintracht Frankfurt, assisting Mladen Krstajić for the only goal of the match to conclude with Schalke a positive home season. In total, he finished his first Bundesliga season with 3 goals and 10 assists in 29 appearances.[15] In the subsequent season, Rakitić played in Schalke's 3–0 victory over Hannover 96, assisting two goals in the opening Bundesliga fixture.[16]

text: Sevilla[edit]

text: 2010–11 season[edit]

text: On 28 January 2011, Rakitić signed a four-and-a-half-year contract with Spanish La Liga club Sevilla for a transfer fee of €2.5 million.[17] Upon his arrival, Rakitić was immediately included in the starting XI of the team, making his debut on 6 February 2011 against Málaga. In next game, against Racing de Santander, he scored an own-goal but managed to get back on the track and scored his first goal for Sevilla in the match against Hércules in the next matchday. Due to a fractured foot, Rakitić was forced to miss the last four La Liga fixtures.[18] He scored five goals in his first half-season with Sevilla in 2010–11, starting in all 13 matches after his arrival and before the foot injury.

text: 2011–12 season[edit]

text: During the 2011–12 season, Rakitić continued to be a first team regular and a key component of the squad. Due to managerial changes and new tactical schemes introduced by new coach Marcelino, who was later replaced by Míchel, Rakitić was given a different role on the pitch than the one he had the previous season, when he was used as central midfielder under coach Gregorio Manzano; during the course of the season, he was mostly deployed as a defensive midfielder. By the end of the season, he made total of 39 appearances for the club, provided six assists and scored one goal in the 2011–12 Copa del Rey. This turned out to be his only goalless Liga season while playing for Sevilla.

text: 2012–13 season[edit]

text: Rakitić began the 2012–13 La Liga season by providing an assist in the opening match against Getafe. On 12 September, he provided another assist for Piotr Trochowski at home in a 1–0 win over Real Madrid. He scored his first goal of the season on Matchday 5 against Deportivo de La Coruña. Rakitić scored two goals in the opening 20 minutes of the second Seville derby of the season against cross-city rivals Real Betis.[19] This was his third goal of the season against Sevilla's city rivals, given the fact that he had also scored in the first Seville derby of the season, when Sevilla celebrated a 5–1 victory. During the match against Real Sociedad, Rakitić added two goals to his tally, however, the second one was an own goal, tying the match at 1–1 after he scored the first goal to give his club a 1–0 lead.[20] Until the end of the season, he made total of 42 appearances for the club and scored 12 goals for the team, three coming in the Copa del Rey. He also finished the season providing ten league assists. Statistics showed that Rakitić created 100 chances in total, a sum ranking fourth across all players in Europe that season.[21]

text: 2013–14 season[edit]

text: At the beginning of the 2013–14 La Liga season, coach Unai Emery named Rakitić as the new Sevilla captain.[22] Since the beginning of the season, he was one of the most prominent players of the league, scoring the first goal and assisting for the second in a 3–2 away loss against Barcelona on 14 September. In the two last games of September, he scored two goals in a 1–4 away win over Rayo Vallecano, and assisted for the draw 1–1 goal against Real Sociedad. In the final three games of October, Rakitić scored a goal in a 2–0 home win against SC Freiburg, a 2–1 home win over Almería and two goals in a 7–3 loss at the Santiago Bernabéu Stadium against Real Madrid.[23] In the third and fourth games of November, he contributed an assist in away 1–3 win against Espanyol, and two more respectively in a 4–0 home win against Sevilla rivals Betis. In the last game of December, he assisted in a 1–2 away win against Villarreal, helping Sevilla reach a top ten position after a disappointing start of the season, as well attracting attention from other international clubs.[24][25] In the first game of the 2014 calendar year, he scored in a 3–0 home win against Getafe. In January, he scored two more La Liga goals for Sevilla against Atlético Madrid[26] and Levante, respectively, while also missing a penalty kick in the latter fixture.[27] These performances earned him a La Liga Player of the Month award.[28]

text: Rakitić's impressive form continued in the season, with several assists and goals from February to May, including two assists in the Europa League 2–2 away draw against Maribor, an assist in the 2–1 home win over Real Madrid and a goal against Porto in a 4–1 home win. He also assisted in the semi-final first leg 2–0 win over Valencia, which they won on aggregate (3–3), thus qualifying for the Europa League Final. He was man of the match as Sevilla won the Final 4–2 on penalties over Benfica at Juventus Stadium in Turin.[29] He was the first player to captain a team to victory in the UEFA Europa League Final and also pick up the official man of the match award.[30] He was included in the UEFA Europa League Team of the Season.[31] By the Spanish national football league association, Rakitić was chosen in La Liga first XI in both first round, and team of the season.[32][33] He finished the season scoring 15 goals, and recording 17 assists.[34] At the season's LFP Awards, Rakitić won the Fair Play Award and was nominated for Best Midfielder, an award ultimately given to Barcelona's Andrés Iniesta.[35]

text: Barcelona[edit]

text: 2014–15 season[edit]

text: On 16 June 2014, Barcelona signed Rakitić on a five-year contract effective 1 July.[36][37] Upon his arrival, Rakitić was given the squad shirt number 4. He made his debut for the team in a pre-season friendly match against French club Nice on 2 August, when he came on as a second-half substitute for Sergi Roberto.[38] During a pre-season friendly against HJK Helsinki, Rakitić provided his first assists for Barça, assisting twice in 6–0 victory.[39] His official debut for Barcelona came on 24 August in the opening match of the new Liga season, against Elche. Just moments after half-time, Rakitić played a long ball over-top of Elche's defence towards forward Munir, who flicked the ball it into the far corner of the net to make it 2–0 for Barcelona.[40]

text: Rakitić's first goal for Barcelona came from outside of the penalty area in a 0–5 away win against Levante on 21 September 2014.[41] In the next week's game, against Granada, Rakitić headed in Lionel Messi's cross for his second goal of the season in a 6–0 victory at Camp Nou.[42] On 18 March 2015, Rakitić scored the first Champions League goal of his career in a 1–0 win against English champions Manchester City in the round of 16 second leg at Camp Nou.[43]

text: On 6 June 2015, Rakitić scored the opening goal in a 3–1 win against Italian champions Juventus in the 2015 UEFA Champions League Final at Berlin's Olympiastadion.[44] This made Barcelona the first club in history to win the treble of domestic league, domestic cup and European Cup twice.[45] Rakitić, for the second year in a row, was included in the La Liga and European (Champions League) team of the season.[46][47]

text: 2015–16 season[edit]

text: On 11 August 2015, Rakitić played the full 120 minutes as Barcelona defeated his former club Sevilla 5–4 to win the 2015 UEFA Super Cup in Tbilisi.[48] In October, he was announced Croatian Footballer of the Year 2015.[49][50] As an 18th-minute substitute for Sergi Roberto, on 20 October he scored both goals from Neymar assists as Barcelona won 2–0 at BATE Borisov in the Champions League group stage.[51] In December, he was named Croatian Sportsman of the Year 2015.[52] On 30 April 2016, Rakitić scored the opener against Betis as Barcelona won 0–2 to stay top of the Liga table.[53]

text: 2016–17 season[edit]

text: On 23 April 2017, Rakitić scored the second goal in a 3–2 away victory against Real Madrid in El Clásico.[54]

text: 2017–18 season[edit]

text: On 12 September 2017, Rakitić netted a goal against Juventus in the 2017–18 UEFA Champions League, as Barcelona defeated the last season's Italian champions 3–0 at home.[55]

text: International career[edit]

text: Rakitić's first international experience came at youth level with the Switzerland under-17, under-19 and under-21 national teams, but decided to accept the call-up by Croatia national team Slaven Bilić and play for the nation's senior team.[56] He made his full international debut for Croatia on 8 September 2007 in their UEFA Euro 2008 qualifier against Estonia in Zagreb, highly praised by the fans as he was entering the game as a substitute.[57] In Croatia's following qualifier, a 0–6 away win over Andorra on 12 September 2007, he scored his first international goal for Croatia in only his second appearance for the team. He finished the year 2007 with five senior international caps to his name, four of which were in the successful Euro 2008 qualifying campaign.[58]

text: Euro 2008[edit]

text: In early May 2008, he joined Croatia's squad for the Euro 2008 tournament in Austria and Switzerland, where he was squad's second-youngest player.[59] He made his first appearance at the tournament as a starter against Germany, and eventually provided a shot which ricocheted off the post and allowed teammate Ivica Olić to score the second goal in their 2–1 victory. He formed a praised trio of Croatian attacking midfielders with his teammates Luka Modrić and Niko Kranjčar. Though playing a strong role against Turkey in the quarter-finals of the tournament, Rakitić went on to miss one of the three unsuccessful penalties in the shootout, thus leading to a victory for Turkey.[60]

text: Rakitić continued to appear regularly for Croatia during their unsuccessful qualifying campaign for the 2010 FIFA World Cup, making a total of ten appearances and scoring three goals in the competition. On 15 October 2008, he scored a brace in a 4–0 win at home to Andorra. On 5 September 2009, he scored the match-winning goal in a 1–0 win at home to Belarus. Croatia failed to qualify for the finals after finishing third in their group.[61]

text: Euro 2012[edit]

text: After appearing in all of their Euro 2012 qualifiers, he was selected to be part of the Croatian squad at the Euro finals in Poland and Ukraine. Croatia were drawn in Group C together with Spain, Italy and the Republic of Ireland. Rakitić started in all three of Croatia group stage matches. After two matches played, Croatia had four points and were facing defending champions Spain in Gdańsk. With the game goalless and entering the final half-hour, Rakitić burst into the Spanish penalty area but could not direct his header past goalkeeper Iker Casillas after being picked out by a wonderful Luka Modrić pass. It proved to be a costly miss, with Spain's Jesús Navas later scoring an 88th-minute winner to send the Croatians crashing out.

text: 2014 World Cup[edit]

text: In the 2014 World Cup qualifying campaign, on 12 October 2012 Rakitić scored a goal from a free-kick against Macedonia at Philip II Arena to help secure a 1–2 victory for Croatia. Eventually, after the playoffs, the team qualified for the World Cup final stages. They were drawn into Group A alongside Brazil, Mexico and Cameroon. Croatia played the opening match against Brazil, which they lost 3–1.[62] In the second match, Croatia won 4–0 against Cameroon,[63] but did not progress as they lost 1–3 against Mexico, with Rakitić providing the assist for the only Croatian goal.[64]

text: Euro 2016[edit]

text: Rakitić scored his first and only goal in the Euro 2016 qualifiers against Bulgaria. He was selected to be part of the Croatian squad at Euro in France. Croatia were drawn in Group D along with Spain, Czech Republic and Turkey. Rakitić started Croatia's opening game where they secured a narrow victory by one goal against Turkey.[65] On 17 June 2016, Rakitić scored a goal to double Croatia's lead against the Czech Republic, but later the game was turned around when the play was halted briefly after Croatian fans threw flares onto the pitch. Shortly after the restart, the referee rewarded Czech Republic a penalty and the game ended in a 2–2 draw.[66]

text: After a 2–1 win over defending champions Spain, Croatia topped Group D and went on to face Portugal in the next round. Croatia, however, lost 1–0 after Portugal's Ricardo Quaresma scored an 117th-minute, extra time winner to send Croatia out of the tournament. Rakitić later insisted that Croatia did not deserve to go out and the best team were going home.[67] Rakitić appeared in all of Croatia's matches and ended the tournament by scoring one goal.

text: Personal life[edit]

text: Rakitić married Raquel Mauri in April 2013 in Seville after two years of dating.[68] In July 2013, their daughter Althea was born.[69] In May 2016, their second daughter, Adara, was born.[70]

text: Career statistics[edit]

text: Club[edit]

text:
Club
Season
League
Cup[nb 1]
Europe
Other
Total

Division
Apps
Goals
Apps
Goals
Apps
Goals
Apps
Goals
Apps
Goals

Basel
2005–06
Super League
1
0
1
0
1[a]
0
–
3
0

2006–07
33
11
5
0
5[a]
0
–
43
11

Total
34
11
6
0
6
0
–
46
11

Schalke 04
2007–08
Bundesliga
29
3
3
1
7[b]
0
3[c]
0
42
4

2008–09
23
1
4
1
7[d]
1
–
34
3

2009–10
29
7
4
0
–
33
7

2010–11
16
1
4
1
5[b]
0
1[e]
0
26
2

Total
97
12
15
3
19
1
4
0
135
16

Sevilla
2010–11
La Liga
13
6
1
0
2[f]
0
–
16
6

2011–12
36
0
3
1
0
0
–
39
1

2012–13
34
9
8
3
–
42
12

2013–14
34
12
0
0
18[f]
3
–
52
15

Total
117
27
12
4
20
3
–
149
34

Barcelona
2014–15
La Liga
32
5
7
1
12[b]
2
–
51
8

2015–16
36
7
6
0
10[b]
2
5[g]
0
57
9

2016–17
32
8
8
1
9[b]
0
2[h]
0
51
9

2017–18
11
0
1
0
4[b]
1
2[h]
0
18
1

Total
111
20
22
2
35
5
9
0
177
27

Career Total
359
70
55
9
80
9
13
0
507
88

text:
^ Jump up to: a b Appearances in UEFA Cup
^ Jump up to: a b c d e f Appearances in UEFA Champions League
Jump up ^ Appearances in DFL-Ligapokal
Jump up ^ Two appearances in UEFA Champions League and five appearances and one goal in UEFA Cup
Jump up ^ Appearances in DFL-Supercup
^ Jump up to: a b Appearances in UEFA Europa League
Jump up ^ Two appearances in Supercopa de España, one appearance in UEFA Super Cup, two appearances in FIFA Club World Cup
^ Jump up to: a b Appearances in Supercopa de España

tag: ol

text: International[edit]

text:
Croatia national team

Year
Apps
Goals

2007
5
1

2008
11
4

2009
8
2

2010
8
1

2011
6
0

2012
10
1

2013
11
0

2014
10
0

2015
6
1

2016
7
3

2017
6
0

Total
88
13

text: International goals[edit]

text:
[show]Ivan Rakitić – goals for Croatia[75]

Goal
Date
Venue
Opponent
Score
Result
Competition

1.
12 September 2007
Estadi Comunal, Andorra la Vella, Andorra
 Andorra

6–0

6–0

UEFA Euro 2008 qualifying

2.
20 August 2008
Ljudski vrt, Maribor, Slovenia
 Slovenia

1–1

2–3

Friendly

3.

2–3

4.
15 October 2008
Stadion Maksimir, Zagreb, Croatia
 Andorra

1–0

4–0

2010 FIFA World Cup qualification

5.

4–0

6.
11 February 2009
Stadionul Steaua, Bucharest, Romania
 Romania

1–1

1–2

Friendly

7.
5 September 2009
Stadion Maksimir, Zagreb, Croatia
 Belarus

1–0

1–0

2010 FIFA World Cup qualification

8.
23 May 2010
Stadion Gradski vrt, Osijek, Croatia
 Wales

1–0

2–0

Friendly

9.
12 October 2012
Philip II Arena, Skopje, Macedonia
 Macedonia

1–2

1–2

2014 FIFA World Cup qualification

10.
10 October 2015
Stadion Maksimir, Zagreb, Croatia
 Bulgaria

2–0

3–0

UEFA Euro 2016 qualification

11.
4 June 2016
Stadion Rujevica, Rijeka, Croatia
 San Marino

7–0

10–0

Friendly

12.
17 June 2016
Stade Geoffroy-Guichard, Saint-Étienne, France
 Czech Republic

2–0

2–2

UEFA Euro 2016

13.
5 September 2016
Stadion Maksimir, Zagreb, Croatia
 Turkey

1–0

1–1

2018 FIFA World Cup qualification

text: Honours[edit]

text: Club[edit]

text: Swiss Cup: 2006–07

tag: ul

text: UEFA Europa League: 2013–14

text:
La Liga: 2014–15, 2015–16
Copa del Rey: 2014–15, 2015–16, 2016–17
Supercopa de España: 2016
UEFA Champions League: 2014–15
UEFA Super Cup: 2015
FIFA Club World Cup: 2015

text: Individual[edit]

text:
Swiss Super League Young Player of the Year: 2006–07[6]
Swiss Super League Goal of the Season: 2006–07[6]
BBVA Fair Play award: 2013–14[35]
La Liga Player of the Month: January 2014[28]
UEFA Europa League Final Man of the Match: 2014[30]
La Liga Team of the Season: 2013–14,[33] 2014–15[46]
UEFA Europa League Team of the Season: 2013–14[31]
UEFA Champions League Team of the Season: 2014–15[47]
Croatian Footballer of the Year: 2015[49][50]
Croatian Sportsman of the Year: 2015[52]
FIFPro World XI 4th team: 2016[77]
FIFPro World XI 5th team: 2015[78]

text: Notes[edit]

text: Jump up ^ Includes cup competitions such as the Swiss Cup, DFB-Pokal and Copa del Rey


document_title: The Boy Who Dared

question_text: where does the boy who dared take place

question_tokens: where does the boy who dared take place

text: The Boy Who Dared

text: Plot[edit]

text: The majority of the story is told through flashbacks, as Helmuth Hübener, charged with treason, waits in a Berlin prison for his execution. Starting with his memories as a young boy, Helmuth recounts his childhood growing up in Nazi Germany with his mother Mutti (German for "Mom"), grandparents, two brothers, his best friends Rudi and Karl and his future stepfather Hugo, a Nazi soldier.

text: As a young boy, Helmuth plans to become a soldier and fight for Germany but that changes when he grows up, and Helmuth stands out as a very intelligent young man. He becomes very opinionated about the Nazi government when he sees his Jewish classmate's father mercilessly murdered by the SA. He begins to secretly listen to forbidden enemy radio broadcasts, and enlists the help of two of his closest friends in distributing anti-Nazi material. Helmuth and his brothers fight very hard to keep their family together while they argue with Hugo about Germany's laws, rules, and restrictions on all people of Germany and the rights of the Jewish people in Germany. Later, a fellow apprentice of Helmuth's turns him in to the Gestapo, and he is jailed and is killed on October 27, 1942 in the guillotine.

text: History[edit]

text: This story about Helmuth Hübener chronicles his years in school and his first job after graduation. Helmuth took an apprenticeship in the Bieberhaus, which is at the Social Welfare Department at City Hall. Although originally proud of the Fatherland and an enthusiastic participant in the Jungvolk, the Hitler Youth group, Helmuth became disillusioned as Nazi power and policies spread in Germany. Helmuth and a group of friends including Karl-Heinz Schnibbe, Rudolf Wobbe, and Gerhard Duwer, monitored banned radio broadcasts, in which the Allied Powers gave an accurate portrayal of the war in Europe rather than the version told through Axis propaganda. The friends printed pamphlets that were critical of Nazi Germany and distributed them to the public. Their activities were discovered by a co-worker of Helmuth's at the Bieberhaus and they were turned in to the Gestapo, where Helmuth was interrogated, beaten, and arrested for what was considered treason. Helmuth's friends received lighter sentences for their crimes. A brief trial for "show" was held at the People's Court or Volksgerichtshof, and at age seventeen, Helmuth Hübener was executed at Plotzensee Prison in Berlin, becoming the youngest person in history executed for opposing the Third Reich.

text: Contents[edit]

text: The book includes author's note, pictures, copy of poster announcing Helmuth Hübener's execution, 1936 map of Europe, and a Third Reich timeline, 1918-1945.

text: Awards[edit]

text:
2009 Notable Books for a Global Society
2008 Booklist Editors' Choice: Books for Youth
Book Sense Children's Picks - Spring 2008, Booklist Top 10 Historical Fiction for Youth
2009 ALA Best Book for Young Adults[2]
NCSS Notable Social Studies Trade Books for Young People 2009, World History and Culture [3]


document_title: Presentence investigation report

question_text: who is responsible for completing the presentence investigation report

text: Presentence investigation report

text: History[edit]

text: The reports trace their origins to the efforts of prison reformer John Augustus who in the 1840s began a campaign to allow discretion in sentencing to help those who were deemed undeserving of harsh sentences and could be reformed. The practice became firmly entrenched in the 1920s under a theory that crime was a pathology that could be diagnosed and treated like a disease.[2]

text: The information included in a typical PSIR encompasses both legal and extralegal information about the defendant such as:[3][4]

text: Legal Information

text:
Juvenile record
Adult record
Probation/parole history
Official version of offense
Plea bargain
Custody status
Pending cases

text: Extralegal Information

text:
Probation officer recommendations
Gang affiliation
Background and ties to the community
Substance abuse history
Physical health
Mental health
Financial circumstances
Employment history
Education history
Victim-impact statement
Marital history
Military record
Evaluative/needs summary

text: One may note that there is considerably more extralegal information contained within the PSIR. This is important because many have seen this as suggestive of sentencing disparities or inequality in the treatment of offenders with a lower socioeconomic status or little to few ties to the community, but As Alarid and Montemayor (2010, p. 130) state, "The use of extralegal factors becomes especially important in that the PSIR identifies needs related to the defendant's criminal behavior for future treatment intervention services".[5]

text: Purpose[edit]

text: The report has an immediate purpose: to help the court determine an appropriate sentence, but it also serves other purposes. Since the advent of the sentencing guidelines, the importance of the presentence report has increased because the document is now designed to frame factual and legal issues for sentencing. Thereafter, if a defendant is incarcerated, the Bureau of Prisons or State Department of Corrections will use information in the report to designate the institution where the offender will serve the sentence and determine the offender's eligibility or need for specific correctional programs. Also, depending on the jurisdiction, the presentence report can be used to calculate the release date. The probation officer assigned responsibility for the offender's case during probation and supervised release will use the report to make an initial assessment of case needs and risks. Additionally, the report may be used as a source of information for future research. The information allows changing of a sentence subject to the Commitment Order and the judge's verdict.[6]

text: Preparation[edit]

text: Whether interviewing or reviewing documents, the probation officer must weigh the evidence based on the best available information. The final report must contain only accurate information. The goal is to produce a report that the court may rely upon at sentencing. Though it is inevitable that there will be data that the probation officer is unable to verify, that information should be clearly identified. The probation officer must distinguish between facts and the inferences, opinions, or conclusions based upon those facts.

text: When a defendant is referred for a presentence investigation, the officer must immediately begin to gather the facts. Though the procedure varies somewhat from jurisdiction to jurisdiction, the officer usually conducts several aspects of the investigation concurrently to ensure that the presentence report is submitted to the court on time. Since officers routinely conduct multiple presentence investigation simultaneously, meeting the deadlines can be difficult.

text: Review of records[edit]

text: During any investigation a probation officer may review numerous documents including: court dockets, plea agreements, investigative reports from numerous agencies, previous probation or parole records, pretrial services records, medical records, counseling and substance abuse treatment records, scholastic records, employment records, financial records, and others. The probation officer must scrutinize each document received and determine the likely accuracy of the record.

text: The probation officer's investigation of the offense usually begins with an examination of the complaint, information, or indictment charging the defendant and the docket describing the judicial history of the case. These documents may be found in the district court clerk's file. The officer will use them to develop a brief chronological history of the prosecution of the case and identify the specific charges that resulted in the conviction. The review of the clerk's file may also reveal the identities of co-defendants or related cases, the status of which must be investigated and reported in the presentence report. At the same time, the probation officer may also request information about the offender's history, circumstances, and release status from the pretrial services officer or from a separate pretrial services agency.

text: Before interviewing the defendant about the offense, the probation officer must review official descriptions of the offense conduct and the applicable guidelines. As a result, it is often necessary to postpone a discussion of the offense until a second interview. The offender is also asked to submit a written statement about the offense conduct.

text: Additionally, the probation officer must make an inquiry into the offender's criminal history. This is usually accomplished by using databases maintained by the Federal Bureau of Investigation (FBI), the National Crime Information Center (NCIC), or state law enforcement agencies. Though the guideline criminal history category is based only upon sentences imposed for juvenile adjudications and criminal convictions meeting specific criteria, the probation officer reports all known incidents in which the defendant has been involved in criminal behavior to partially fulfill the statutory mandate to provide information to the court regarding the history and characteristics of the defendant. The early examination of computerized criminal history records enables the officer to identify which law enforcement, court, and correctional records must be reviewed. In addition, the initial interview of the defendant should include questioning about the offender's residential history so that the officer can check local police and court records in every jurisdiction where the defendant has lived. Additionally, the probation officer may request physical and mental health, educational, employment or financial records from a variety of sources to corroborate information provided by the offender.

text: Interview of defendant[edit]

text: Probation officers investigate by interviewing and reviewing documents. Unless the defendant declines, the defendant is questioned in every case. Additionally, the officer should interview the defense counsel, the prosecutor, law enforcement agents who investigated the conduct that led to the defendant's conviction, victims, the defendant's family, present or previous employers, school officials, doctors, counselors, and others. The diverse interview settings that probation officers encounter require them to be proficient in a variety of questioning techniques.

text: Ideally, the offender is available for the interview early in the investigation. The defendant interview is the pivotal point around which the presentence investigation turns. Often, the format is a structured interview during which a standard worksheet is completed. The worksheet follows the format of the presentence report and provides space for recording data about the offense and the offender's characteristics and history. Each item on the form is reviewed with the defendant. Even though some of the data solicited from the offender during this interview may not appear in the final report, it is impossible at this stage to determine what information will be included. No question is asked without a purpose. The defendant's answers will determine follow up questions, items for further investigation or corroboration, and, ultimately, whether the data should be included in the report.

text: The presentence investigation is often the first inquiry into the offender's past, and the initial interview provides the framework for the report's description of the offender's history and circumstances. The probation officer inquires about the defendant's family and developmental history, familial and marital relationships, education, employment history, physical and mental health, alcohol or controlled substance abuse, and finances. The emphasis throughout the questioning is on identifying information that is relevant for understanding the defendant's offense conduct and present situation. During the interview, the probation officer will ask the offender to sign authorizations to release confidential information. At the conclusion of the initial interview, the offender may be asked to provide numerous documents to the probation officer substantiating the offender's complete life history. Additionally, the offender may be asked to submit an autobiography fleshing out the skeletal information already gathered about the social history.

text: The second interview may be scheduled either in the probation office or in the offender's home. By visiting the home, the probation officer may verify information by talking to other family members and may obtain clues about the offender's standard of living, community ties, and use of alcohol or controlled substances. A second interview is also an opportunity to clarify any vague, contradictory, or confusing information.

text: If the defendant impedes the probation officer's investigation, e.g. by failing to disclose all prior convictions and arrests, his sentence may be increased for obstruction of justice and failure to accept responsibility, even if the undisclosed information has no effect on his criminal history score. Since some defendants may not remember all such prior history, some defense attorneys conduct their own investigations. Some courts have ruled that a defendant waives his Fifth Amendment right against self-incrimination when he pleads guilty. It remains to be seen exactly how this applies to presentence investigation interviews, but it appears likely that a defendant who refuses to talk about his criminal history will jeopardize his sentence reduction for acceptance of responsibility.[7]

text: Gathering of information from other persons[edit]

text: Another step that must occur early in the investigation is contact prosecutor assigned to the case. The prosecutor will be asked to provide information about the conduct that resulted in the defendant's conviction, victim's losses, the defendant's history, and any other data relevant to the sentencing decision. During the investigation, the defense counsel will also be asked to discuss the same topics.

text: After the interview of the offender, contact with the prosecutor, and the criminal history inquiry, the probation officer must identify any information gaps, must identify potential sources for the missing information, and must plan on how to eliminate the gaps. It may be necessary for the investigating officer to request another probation officer in another jurisdiction to conduct a collateral investigation about a specific aspect of the case. Supplemental interviews may be scheduled with case agents, victims, family members, employers, counselors, or others.

text: Writing and revision[edit]

text: Gradually, the emphasis shifts from gathering information to analyzing data. The probation officer must take the tentative findings of fact regarding the offense conduct and criminal history and must make tentative applications of the sentencing guidelines. The applicable sentencing options that the probation officer must recite in the presentence report. Additionally, the probation officer must study the case to identify potential grounds for departure from the guidelines and then must analyze any potential departure to determine if it is valid. During the investigation, the probation officer may consult a probation officer specialist who is a subject matter expert about guidelines, financial investigation, mental health, substance abuse, or some other aspect of the case. The probation officer may also consult a supervisor or, in a team environment, other members of the officer's team.

text: Finally, the probation officer must write a draft of the report for disclosure to the defendant and the attorneys. When objections to report are received, the probation officer must manage the resolution of disputes. The officer must be impartial and open to opposing perspective and must consider all relevant and reliable information before making an independent judgment about the tentative findings of fact and guideline applications that will be recommended to the court. The probation officer must be prepared to report unresolved disputes to the court in a detached, dispassionate manner focusing on the factual or legal disagreement among the parties.

text: After revising the report in response to objections, the probation officer develops a sentencing recommendation based on the facts and sentencing options identified in the report. The written justification for the recommendation is the probation officer's evaluation and analysis of the offense, the offender, and the sentencing options. The justification provides the officer's rationale for the specific sentencing recommendations. It should address the statutory factors to be considered in imposing a sentence and should assist the court in the preparation of the judge's statement of reasons for imposing a sentence.

text: The officer then discloses the final report and sentencing recommendation to court. Also, the officer discloses the report to the defendant, and both attorneys, but the job is not finished. The probation officer must be prepared to discuss the case with the sentencing judge in chambers or in court, to answer questions about the report that arise during the sentencing hearing, and, ultimately, to testify under oath in open court as to the basis for the factual findings and guideline applications recommended in the report.

text: In the Federal System, after the offender's sentencing by the Court, the probation officer must ensure that copies of the pre-sentence report and other requested documents are forwarded to the U.S. Bureau of Prisons and the U.S. Sentencing Commission. If possible, the probation officer must also interview the offender after sentencing and instruct the defendant about the conditions of supervision that the court imposed. A written copy of the conditions of supervision must be provided to each offender.

text: Rules[edit]

text: Local rules, adopted by the judges of each jurisdiction, supplement the federal rules and set a specific schedule for the disclosure of the initial draft of the presentence report to the defendant and both counsel, for the filing of objections to the report by counsel, and for the submission of the final report to the court, the defendant, and counsel. The report must be disclosed to the court, the defendant, defendant's counsel, and the attorney for the government at least before the sentencing.

text: The probation officer must manage the investigation process within the time line established by those rules. In addition to gathering information, the officer must plan to verify that information, interpret and evaluate the data, determine the appropriate sentencing guidelines and statutes to the specific facts of the case, and present the results of the investigation in an organized and objective report. The probation officer must set deadlines for the submission of information by the defendant and others and monitor compliance with the deadlines.

text: Rule 32 of the Federal Rules of Criminal Procedure[8] and §6A1.1 of the United States Federal Sentencing Guidelines regulate presentence reports.[9]

text: Controversy[edit]

text: Presentence reports typically include copious amounts of hearsay that would not be permitted in court testimony. This practice has been criticized:[10]

text: Generally, the state (or judge) seeks to rely on extremely subjective, hearsay-laden documents such as police reports and presentence reports as "evidence" that the defendant committed a "violent" crime. In other words, they attempt to "go behind" the prior conviction by looking at the alleged facts of the crime to determine whether the crime was "violent". This practice violates due process. Moreover, this practice will inevitably lead to "ad hoc mini-trials" concerning prior offenses that have long since gone stale.